Originally published in 2005 on Campbell Kneale’s seminal Celebrate Psi Phenomenon label in Lower Hutt, New Zealand, alongside albums by stalwarts of the scene such as MSBR, Bruce Russel, Lugosi, Pumice, Artificial Memory Trace, Ashtray Navigations, Reynols, Sandoz Lab Technicians, Kemialliset Ystävät, and Kneale’s own outfits such as Black-Boned Angel and Birchville Cat Motel. This album has been out of print for ten years

“I saw Jason perform in concert once. It was a baffling display. Screeds of Ampex400 trailing their way around the venue, coiling around man and beast like a ravenous bramble. Sloughing and wheezing its micro-things like so much dandruff after you’ve had your head shaved. The merciless click-clock, click-clock of spools keeping time in my imagination even though the withering volume had long-since obliterated my ability to hear what I was seeing. I was bamboozled and charmed . ‘Dear Mr Lescalleet, would you consider unravelling a spool or two for my little Celebrate Psi Phenomemon label? Wouldya? Wouldya?’ …and with that, “To The Teeth” was conceived and squeezed out into this hateful world as a home-burned CD-R, swaddled in Celebrate Psi Phenomenon wallpaper packaging. Huzzah!

I dug it like a hole to China.

To these blitzkrieg-hardened ears, time has not worn down the prickles at the end of this stick. The whooshy hums that herald the opening moments slowly and inexorably give way to salvos of an altogether different species… a compelling narrative of arcs and eternal-crescendos There are glibbering cliches written to give language to these sounds… ‘glacial’,… ‘ecstatic’,… ‘transcendent’… PAH! “To The Teeth” is like an avalanche of small windowless buildings. Terrifying to behold, it shrinks us down to a weensy-little microworld where the seemingly featureless tape itself is re-imagined as a towering landscape, replete with near untraversable mountain ranges of magnetica, blown hither and thither in howling gales of the almighty, electrically-charged, everything of godawful NOISE.

I still don’t know how he made this. I don’t want to know, I’m easily frightened.

To you the listener… best of luck, you’re on your own.”
– Campbell Kneale 2016

Recently remastered from the original recordings and presented now for streaming and downloading as well as a jewel-cased hard copy, utilizing Campbell’s original and unique package design.

This Heap Is Greater Light is the result of an eight month intensive collaboration between Canadian electro-acoustic composers Mathieu Ruhlmann and Chris Strickland. The result is a methodical crushing of disparate times, materials, and environments into a continuous organic flux. The pieces on this album explore intensity and quietude, noise and tonality. They incorporate field recordings, digital synthesis, classical instruments, and a sundry of everyday occurrences using reel to reel tape machines and VCR decks. This Heap Is Greater Light is a perplexing and highly-detailed work of dream-like musique concrete.

Just as Marc Baron’s widely lauded 2014 CD “Hidden Tapes” marked a turn from saxophone improvisation to an embrace of what the Potlatch label referred to as “music for speakers” or “sound diffusion,” Carnets is not only another leap forward, but could easily be considered Marc Baron’s masterpiece.
This record is the analog debut for Marc Baron, and his hand-constructed audio works sound completely alive on this vinyl pressing mastered by Jason Lescalleet. Each slab of 150-gram vinyl comes in a special black poly-lined dust sleeve inside a 300-gsm white-on-white art board, all lovingly protected by a polyvinyl bag. The front cover bears a striking photograph of a sculpture by French artist Loïc Blairon,”Untitled, wood and plaster, 22x22x7cm, 2015″.
The Glisten Examples Bandcamp store has two limited edition versions of this album available. The first option is an edition of 70 copies pressed on clear vinyl here.
The second option is the Artist Edition, and it includes the same clear vinyl pressing along with a high quality print of Loïc Blairon’s sculpture, numbered in an edition of 30 copies and signed by Loïc Blairon and Marc Baron, printed in a dimension of 20 cm x 15 cm on 308 gram 100% cotton Hahnemühle Fine Art Rag stock and protected in crystal archive paper.
Order here.

The November installment of THIS IS WHAT I DO can be streamed, downloaded, or purchased as a CD at the Glistening Examples Bandcamp page. This series will continue monthly, as we are now preparing to publish VOLUME FOUR with an expected publishing date of December 16, 2014.
In January 2015 we will be offering a subscription program, starting with VOLUME FIVE. Glistening listeners will have the option of pre-ordering all 12 volumes of the 2015 series for $160 including shipping. Annual subscribers will be receiving 12 CD’s for the price of 10, and they will automatically receive each disc every month without the need to order from the site monthly. Annual subscribers will also be the first to receive information about upcoming limited edition releases before they are publicly announced.THIS IS WHAT I DO – DOMESTIC SUBSCRIPTION SERIES

With the high cost of international shipping, we also designed a subscription offer for international customers. Glistening Examples will ship quarterly installments of 3 CD’s each for a total cost of $200 including shipping. This offer is almost $90 less expensive than ordering and shipping each of the 12 CD’s monthly.THIS IS WHAT I DO – INTERNATIONAL SUBSCRIPTION SERIES

This is what I did at Glistening Labs during the month of October 2014, released October 13, 2014.
I hope you’ll enjoy the planned monthly installments to the THIS IS WHAT I DO series.
You’ll find a streaming track below this and a link for purchase below that.

Thanks for checking in and please check back again next month for VOLUME THREE.